伊万洁利亚的纪录片是白日梦般的电影诗篇。《朦胧的巴洛克》记录了一位在巴西颇有影响力的变性人，卢安娜穆尼斯的生活点滴。伊万洁利亚试图描绘一座城市的社会现状，是如何影响个体的追求与改变。笼罩在这座城市上方的是争论不休的极端主义、政治冲突，还有层出不穷的变装嘉年华。而在这片笼罩下的，是行走的变装小丑，是跳着巴西热舞的异装癖者，是夹缝生存的变性者。

伊万洁利亚的纪录片是白日梦般的电影诗篇。《朦胧的巴洛克》记录了一位在巴西颇有影响力的变性人，卢安娜穆尼斯的生活点滴。伊万洁利亚试图描绘一座城市的社会现状，是如何影响个体的追求与改变。笼罩在这座城市上方的是争论不休的极端主义、政治冲突，还有层出不穷的变装嘉年华。而在这片笼罩下的，是行走的变装小丑，是跳着巴西热舞的异装癖者，是夹缝生存的变性者。

STATEMENT 　　Here and now 　　In the film Balkan Baroque, one has the impression that the character invents the past as she speaks, here and now. This past seems to have no reality outside the moment it is evoked with the force that is characteristic of film work. Here, in Balkan Baroque, it has become the present, the present of the film unwinding before the viewer's eyes. 　　What we see on the screen is in the process of happening-it is the very gesture that is given to us and not a report on it. The universe of the film is given in a perpetual present. In other words, this biography of Marina Abramovic, which implies a number of past things, is in process of unfolding before our eyes, here and now, as we watch Balkan Baroque. 'Elsewhere' and 'formerly' do not exist. There is no longer a true reality, inherent and external to the film, so there is no longer anything but the sole reality of the projected images. The film, the universe that it reveals, suffices by itself, at every instant, erasing itself as it goes along, within a loop that is literally never-ending. 　　We are therefore dealing with a subjective, mental unwinding. The work Balkan Baroque is not account of an exterior reality; it is its own reality. The only time to be considered for this biography is the projection time (63'). Balkan Baroque is pure fiction, an imaginary production in which Marina Abramovic plays different roles, including the role of the artist doing performances.

STATEMENT 　　Here and now 　　In the film Balkan Baroque, one has the impression that the character invents the past as she speaks, here and now. This past seems to have no reality outside the moment it is evoked with the force that is characteristic of film work. Here, in Balkan Baroque, it has become the present, the present of the film unwinding before the viewer's eyes. 　　What we see on the screen is in the process of happening-it is the very gesture that is given to us and not a report on it. The universe of the film is given in a perpetual present. In other words, this biography of Marina Abramovic, which implies a number of past things, is in process of unfolding before our eyes, here and now, as we watch Balkan Baroque. 'Elsewhere' and 'formerly' do not exist. There is no longer a true reality, inherent and external to the film, so there is no longer anything but the sole reality of the projected images. The film, the universe that it reveals, suffices by itself, at every instant, erasing itself as it goes along, within a loop that is literally never-ending. 　　We are therefore dealing with a subjective, mental unwinding. The work Balkan Baroque is not account of an exterior reality; it is its own reality. The only time to be considered for this biography is the projection time (63'). Balkan Baroque is pure fiction, an imaginary production in which Marina Abramovic plays different roles, including the role of the artist doing performances.

Waldemar Januszczak带你领略巴洛克艺术传统。

Waldemar Januszczak带你领略巴洛克艺术传统。

这是一部阴森诡异的吸血鬼传说,同时也是一个凄美感伤的爱情故事。 公元1462年，土耳其人入侵君士坦丁堡，并威胁到整个基督教。罗马尼亚大将军德古拉伯爵(加里•奥德曼 饰)临危受命征讨，不料就在他获胜之时，城内谣言四起， 盛传他已战死沙场。他的妻子伊丽莎白（薇诺娜•赖德 饰）因悲痛欲绝而投河自杀，班师回朝的德古拉看到的只是妻子的尸体。由此他迁怒于上帝，从而化身投入邪恶势力，以吸食鲜血延续生命，成了一个不死的吸血僵尸。 四百年后，故事辗转到了1897年的伦敦，年轻律师强•纳生（基努•里维斯 饰）受命到罗马尼亚特兰斯瓦尼亚属地的德古拉家族城堡去办理这位贵族后裔在伦敦的地产手续。为此，他将与未婚妻——美丽的美娜（薇诺娜•赖德 饰）分离。德古拉城堡的主人公正是已化为吸血鬼的德古拉伯爵，他发现美娜与伊丽莎白惊人相象，认为美娜就是莉莎的转世再生。他决定找到美娜，找回那一份遗失了四百年的真爱。他将约拿囚禁在城堡之中，带上成箱子的故乡泥土：这是他力量的源泉，乘船一路呼风唤雨来到伦敦。他的到来复苏了伦敦的黑暗力量。伦敦处于一种神秘的恐怖之中。而美娜却总在冥冥之中听到一种心灵的神秘的召唤，在恐惧中又带有一种强烈的向往······

男主角赵贤珉是一名电影导演，女主角姜善熙是一位研究文物的教授，当贤珉将老房子里一部分拆除改造成电影棚时，在一面隐藏的墙后面发现了一个密室，里面有一具女性木乃伊。接获报告到贤珉老家研究此木乃伊的善熙与贤珉就这样认识了，之后贤珉将木乃伊捐赠给了研究所。由于对木乃伊展开的研究，善熙每晚都做着一个同样的梦，有时甚至还出现幻觉，同样的贤珉也出现了一些关于前生的幻觉。在研究所对木乃伊进行DNA检测尝试找出木乃伊的身份时，善熙发现了自己与木乃伊的基因居然完全吻合，这个木乃伊的有关的一段400年前的历史也逐渐被揭开。期间，木乃伊对一切曾有负于她的人展开了报复，这其中也包括了贤珉。　　原来，这个木乃伊叫做秀熙（善熙的前生？），是赵贤武（贤珉的祖先）的原配妻子。一次被人掳走后侥幸逃回，她的公公婆婆认定了她的不贞而将她赶出家门。贤武之后偷偷将她接回，藏在家中密室并在每天晚上去陪伴秀熙，他承诺将说服自己的父母将秀熙接回。可惜好景不常，贤武最终不敌父母的压迫另取妻子，新婚妻子在某个晚上跟踪贤武发现了秀熙的存在，并将此事告知了公公婆婆。贤武的父母强迫他亲手将密室的进出口门封上，贤武反抗不成后痛苦万分的将密室封上。之后，贤武趁大家都不注意的时候试图回到密室重新将门打开，可是人就被父母发现并将贤武锁在房中。被封在密室的秀熙痛苦绝望，认为是贤武抛弃了她，对其充满怨恨的死去。被囚的贤武自觉愧对秀熙，自缢而死，并在被囚的房中留下遗书。　 贤珉发现了被自己堂叔藏起的在密室中秀熙的日记，得知了一切原委，他来到研究所看木乃伊。同时，善熙也发现了贤武所留下的遗书并赶回研究所。当善熙赶回时，看到木乃伊站立变回了原本的模样并试图掐死贤珉，而有了前生所有记忆的贤珉完全没有反抗。善熙的及时说出真相，贤珉（贤武）获得了秀熙的原谅。最后，秀熙入土为安与贤武葬在了一起，在四百年之后两人终于圆满了。

稲垣吾郎在片中饰演畅销耽美小说家美仓洋介，为自己非同寻常的性欲感到烦恼，而二阶堂富美则饰演自我堕落的放荡女孩巴洛波拉，两人相遇后发生一系列故事。该片是纪念手冢治虫诞生90周年之作，由手冢治虫长子手冢真执导。

稲垣吾郎在片中饰演畅销耽美小说家美仓洋介，为自己非同寻常的性欲感到烦恼，而二阶堂富美则饰演自我堕落的放荡女孩巴洛波拉，两人相遇后发生一系列故事。该片是纪念手冢治虫诞生90周年之作，由手冢治虫长子手冢真执导。